2024-25 Main Stage Guide
Creating Dynamic Student Experiences in Theatre
The International Thespian Society
The International Thespian Society is the only theatre honor society for middle and high school students in the United States. Affiliation brings credibility and distinction to students, theatre programs, and schools. It is a visible, positive symbol of the quality of your theatre program.
ITS recognizes, rewards, and encourages student achievement and celebrates the work of students in all aspects of theatre – performance and production. Each student is honored on an
international nationa l level and gains access to opportunities and resources beyond those of their school.
The International Thespian Festival’s (ITF) Main Stage program honors students, teachers, and school theatre programs by showcasing their superior work in theatrical production on the largest of stages – in front of thousands of fellow Thespians and theatre educators at the annual event on the campus of Indiana University.
Into the Woods | New Jersey Thespians | Troupe 7268 Hoboken High School | Director: Derek Kinnear
Shaffner
Overview & Eligibility
About the ITF Main Stage Program
There’s nothing like the thrill of performing for thousands of fellow Thespians, and the ITF Main Stage is where your troupe can do just that!
During the fall semester prior to ITF, Thespian troupes may have one of their live, full-length productions (a play or a musical) adjudicated for constructive feedback and the chance to be invited to perform on the Main Stage at ITF. Following the adjudication and selection process outlined in this guide, a select number of outstanding troupes will be invited to perform on the ITF Main Stage.
Live Productions
A “live production” is defined as an onstage, in-person play or musical. Video recordings submitted for
adjudication purposes must be of a live performance and may not include video editing, graphic enhancements, animations, or other elements that do not appear live onstage.
Feedback Only
Troupes interested in receiving feedback for educational purposes may opt out of consideration for the ITF Main Stage. Simply indicate so by checking the “feedback only” box on the application form. The adjudication fee still applies.
Eligibility
Any Thespian troupe in good standing with the parent organization (ITS/EdTA) is eligible for Main Stage adjudication. To be eligible for performance at ITF, productions must be staged during the specified adjudication period.
Alice by Heart | Colorado Thespians | Troupe 7339 Fossil Ridge High School | Director: Mikayla Assmus
To give as many troupes as possible the chance to perform at ITF, troupes selected to perform on the Main Stage are not be eligible for certain other performance opportunities during ITF (e.g., the Chapter Select One-Act Showcase). Troupes selected to perform on the Main Stage are not eligible to perform on the Main Stage in consecutive years.
Troupes must be available to present their productions on any of the scheduled ITF dates in either of the IU Main Stage venues. The ITF staff and production team will assign performance dates and venues based on each production’s requirements and how they best fit in the overall ITF schedule. Troupes must be available to perform in any venue on any day of the festival. Troupes will be notified of their assigned venue and performance dates in advance so they may secure licensing agreements for the performances. If chosen, directors must provide proof of licensing agreements and insurance certifications for the planned Main Stage performance. (Additional approvals required. See Production Requirements, pgs. 9-10)
Time Limit
Maximum production length is 2 hours 45 minutes, including one 15-minute intermission. Productions that exceed the time limit will not be considered for the ITF Main Stage. Performance time at ITF must be consistent with the time of the adjudicated performance.
Application, Fees & Payment
The Main Stage Adjudication Application Form should be completed online by the director of the production in collaboration with the Thespian troupe director (if they are not the same person).
Each troupe may only submit one production for adjudication per academic year. A $349 (USD) non-refundable adjudication fee is due upon submission of the completed application.
Where to Apply
To apply for ITF Main Stage adjudication and review important deadlines, visit itf.schooltheatre.org/main-stage.cfm.
My Heart Says Go | Indiana Thespians | Troupe 5648 Warsaw Community High School | Director: Melany Morris
Submission Requirements
Review the Procedures for Submitting an Application
Licensing Requirements
• A copy of the licensing agreement and video license (or the ITF Adjudication Permission Form) for the troupe’s production must be submitted to EdTA at least two weeks before the troupe’s scheduled performances at their school along with the video submission by the deadline. (which is within 1 week of performance).
• The video license must allow recording of at least one performance to be shared with EdTA for adjudication (or troupes may submit an ITF Adjudication Permission Form signed by the licensing agency who represents the title).
• The troupe/school must pay all royalties and adhere to the policies in the production contract with the licensing agency in order to be eligible for the Main Stage at ITF.
Video Requirements & Recommendations
• The recording submitted for adjudication must be a one-camera recording that can show the entirety of the playing space. Zooming and panning are allowed (and encouraged to help the adjudicators), but there may be no editing between multiple camera angles during the performance. The recording should only stop during intermissions. Any edits will result in the video being flagged for disqualification. Ensure that the single camera is set up so that audience members do not block the view of the stage while seated or standing.
• Be sure to check the sound balance on the video between the musical accompaniment and vocalists before recording your performance. Conduct sound tests if necessary to ensure a desirable mix on the final recording so the performances can be clearly heard by the adjudicators.
• Test light levels on the recording device before recording your performance to avoid washout and/or shadowy video captures. Check multiple lighting cues to see how each reads on camera and ensure your camera operator knows how to adjust for clarity during filming.
Make the Best Recording You Can of Your Show.
It should let the adjudicator see and hear the performance as well as possible; ideally, as if they were there in person.
Submission Procedure
Directors will submit a video of their production for adjudication via the same online platform used for the initial application. Directors must upload their videos to a secure hosting platform, such as Vimeo or YouTube, with the appropriate privacy settings, then post the private link in the application. It is a violation of your licensing agreement to make the video publicly available for viewing without express written consent from the rights holder. Videos should be submitted within one week of opening night or by the end of the application period, whichever comes first.
Adjudication Process
Adjudication Panels
After directors submit their production videos, the adjudication process begins. EdTA assigns multiple judges to evaluate each production, utilizing a cadre of trained adjudicators. Assignments are based on availability and adherence to the criteria below to ensure fairness.
Conflicts of Interest
Adjudicators must disclose any conflicts of interest prior to adjudicating a production. Adjudicators will not be assigned to evaluate a production should any of the following conflicts of interest arise:
• The adjudicator and/or their troupe is also submitting a production for consideration.
• The production to be adjudicated is from the adjudicator’s home chapter.
• Any other conflicts of interest the adjudicator discloses.
Evaluation & Feedback
Productions will be evaluated based on the appropriate Production Adjudication Rubric (musical or play; see pgs. 14-19 at the end of this guide). Feedback from the adjudicators will be shared with each director via email.
Education
is Central to the Adjudication Process.
The evaluation rubrics are designed to provide educational feedback to directors and students involved with the production, regardless of whether the production receives an invitation to perform at ITF.
Silent Sky | California Thespians | Troupe 648
Arroyo Grande High School | Director: Sean Blauvelt
Selection Process
Understanding How Shows Are Invited to ITF
Following adjudication, highly rated productions move into the selection process. Members of EdTA staff and a volunteer production adjudication committee screen the productions again, considering the following factors (detailed in the rubric on pages 22-23): 1 2 3 4
Adjudicator Feedback
Productions must receive an overall superior rating to be considered for ITF.
Diversity, Equity, and Inclusion
As part of its racial equity action plan, EdTA strives to represent diverse races, ethnicities, gender identities, and abilities in the casts, crews, directors, playwrights, and/or subject matter.
Technical Needs
Productions’ technical fit for the Main Stage venues, logistics, and event schedule is evaluated.
Variety
Creating a well-rounded Main Stage lineup (across a single season and/ or consecutive years) that includes a variety of genres and titles and that fits the themes and needs
Between the Lines | Wisconsin Thespians | Troupe 4982 Bradford High School | Director: Holly Stanfield
ITF Production Requirements
Pre-Festival Planning
1. Communication– Identify a primary adult leader with whom all correspondence from EdTA will be communicated. This individual should add events@ schooltheatre.org to their safe sender lists to avoid missing critical information blocked by firewalls.
2. Casting– Submit any changes to casting (emergency or otherwise) for approval by the ITF registration deadline to ITF staff.
3. Licensing– Obtain additional approval from the licensing agency for two in-person performances during the week of ITF. Any additional royalties incurred for the ITF performances must be paid by the troupe/school.
4. Logistics– The primary adult leader must complete the following by published deadlines:
• Participate in 1-2 pre-production meetings with ITF staff and production team.
• Submit lighting plots and stage plans (blueprints, scenic renderings, scale drawings, photos of each set configuration, etc.) and all technical specification forms.
• Coordinate all shipping and transportation logistics.
• Submit digital programs (which include any updated cast, crew, advertisements, thank you notes, etc.). Paper programs are not permitted at ITF.
• Provide licensing agreements and all required insurance certificates.
• Participate in a site visit 60-90 days prior to ITF for planning purposes. Each troupe may send up to 2 adults for a 2-day, 1-night campus visit. ITF will reimburse up to $1,000 in travel expenses per adult. Participation is optional, though highly recommended.
Bringing Your Cast, Crew & Production
1. Registration– The primary adult leader of the performing troupe must register cast, crew, adult production crew, volunteers, and musicians for the festival by the ITF registration deadline. All adults registered with a Main Stage production (who are over age 18 by the performance date) must consent to a background check.
2. Housing– The primary adult leader of the performing troupe must submit housing assignments and parking pass requests by the ITF housing deadline.
3. Ticketing– Performing troupes will be issued tickets for each performance equal to the number of all-access and activities-only passes purchased by the registration deadline. Troupes may distribute tickets from this allotment to guests and production volunteers. Based on availability.
Indecent | Louisiana Thespians | Troupe 88800 Episcopal School of Baton Rouge | Director: Lily McGill
AT ITF
1. PRODUCTION MEETING Main Stage directors must attend an in-person production meeting and venue tour prior to their performance date.
2. LOAD-IN & -OUT Troupes are responsible for mounting and striking the set and must comply with IATSE regulations.
Troupes are allowed a maximum of eight hours to set up (may be split over two consecutive days depending on venue scheduling) and two hours to strike. Additional load-in and load-out time IS NOT permitted.
3. PRODUCTION ELEMENTS All scenery, props, costumes, makeup, etc., must be supplied by the troupes.
4. LIGHTING & SOUND
Performance venues have various lighting and sound equipment available, but they may not fill the needs of the productions selected to perform on the Main Stage. ITF staff and production team will work with selected troupes to accommodate their own lighting/sound elements, if needed.
5. SAFETY Productions must adhere to venue regulations and stage safety guidelines (pg. 11).
Disney’s Frozen: The Broadway Musical | Wisconsin Thespians Troupe 6903 | Wauwatosa West High School | Director: Adam Steffan
Venue & Technical Specifications
Performance venues are large-scale, professional auditoriums with more than 1,000 seats. The ITF staff and festival production team will assign performance dates and venues based on each production’s requirements and how they best fit in the overall ITF schedule. Per the eligibility requirements, troupes must be available to perform in either venue on any day of the festival.
Performance venues have agreements with the IATSE labor union. Performing troupes should be aware that additional venue requirements must be adhered to due to the agreements in place with IATSE and their procedural standards. Likely, these requirements will modify how the production is set up, run, and struck by student crew in the venues at ITF. Specific union requirements as well as ITF/IU policies and venue specifications will be shared with performing troupes prior to their arrival at ITF.
Stage Safety Guidelines
To support our teachers and provide a safe performance experience, EdTA and ITF have partnered with the United States Institute for Theatre Technology (USITT) to provide stage safety resources and educational materials. The following standards must be reviewed and adhered to by any program performing on a Main Stage at ITF:
• Walking and Working Surfaces (OSHA 1910.25)
• Guidance on OSHA standards for Work Surfaces/Platforms
• Stairways and Ladder Safety (OSHA 1926.1052)
• Guidance on OSHA requirements for Guardrail and Safety Railing Compliance
Director Checklists
Before submitting your production to be considered for ITF, take time to review the details and information you’ll need to share throughout the process.
Application
Primary adult leader’s contact information
School information, including administrator, school type, grade levels, student enrollment and demographics, Title 1 status, theatre program budget, last ITF Main Stage performance
Core production information, including title, author, publisher, performance dates, director’s concept, run time, budget, and DEIA goals
Company detail, including number and demographics of student cast and crew, professional staff and musicians, adult volunteers
Submission of production video (with licensing agency permission to screen), digital program, and application fee
Acceptance
School name, address, contact info
Troupe number and director contact information
Production director contact information
Technical director contact information
Production title, author, publisher
Production details such as content warnings, set description, effects, props/stage weapons
Upload or agree to provide licensing agency permission to perform (a letter to request free or reduced licensing fees is provided)
Promotional details including show synopsis, mature content alerts, social handles, show logo, production photos, optional invitation reaction video
Number and demographics of student and adult cast and crew, including any participants under age 12 (the minimum attendee age for ITF)
Length of each act in minutes
Estimated set-up time (8 hours max) and strike time (2 hours max)
Tech Survey
Troupe director and secondary contact’s information
Run time
Descriptions of any element or content affecting how the audience experiences the production, including mature content, gun shots or loud noises, flame/smoke, haze/ fog, cigarette/cigar smoking or vaping, strobe lighting, extended full blackouts (5+ seconds), stage weapons (guns, knives, etc.), live animals on stage, company members with a certified service animal, cast entering, exiting, or performing in the house
Detail of performing and non-performing members who will be on site at ITF
Detailed description of set, props, and special effects, including any fly effects and professional company used for them
Detailed description of lighting, projections, and sound design
Detailed description of costume design and dressing considerations, such as quick changes, needs for available (limited) dressing room space, and ADA considerations
Transportation details including number, size, and parking needs of vehicles for load-in and load-out
Shipping and dumpster needs
Main Stage Rubrics & Forms
Main Stage Production Adjudication Rubric: Musical
For internal use only
School: Troupe:
Production Title:
Pace
The production moved smoothly, and the pace assisted the mood of the show.
Comment:
Staging
Most of the time the production moved smoothly, and the pace assisted the mood of the show.
Some of the time the production moved smoothly, and the pace assisted the mood of the show.
The production did not move smoothly, and the pace did not assist the mood of the show.
Comment:
Characterization
The blocking and staging were interesting, organic, and justified by the actors, and there were effective pictures created on stage.
The blocking and staging were mostly interesting, organic, and justified by the actors, and there were mostly effective pictures created on stage.
The blocking and staging were somewhat interesting, organic, and justified by the actors, and there were somewhat effective pictures created on stage.
The blocking and staging were not interesting, organic, or justified by the actors, and there were not effective pictures created on stage.
All the characters were believable and there was depth in the development of each character. The actors committed to their characters and played objectives rather than emotions.
Most characters were believable and there was depth in the development of most characters. Most actors committed to their characters and most played objectives rather than emotions.
Several characters were believable and there was depth in the development of several characters. Some actors committed to their characters and some played objectives rather than emotions.
Few, if any, characters were believable and/or developed. Frew actors committed to their characters and few played objectives rather than emotions.
Comment:
Ensemble
The entire cast developed a community onstage. Everyone was engaged in the action and relationships were clearly defined
Most of the cast developed a community onstage. Most were engaged in the action and relationships were mostly defined
Comment:
Vocal Quality
The vocals were fitting and within range of the cast, and there was a balance and blend among the vocalists. The dialogue was understandable with clear diction, and if used, accents and/or dialects were authentic, consistent, and understood.
The vocals were mostly fitting and within range of the cast, and there was mostly a balance and blend among the vocalists. Most of the dialogue was understandable with clear diction, and, if used, accents and/or dialects were mostly authentic, consistent, and understood.
Some of the cast developed a community onstage. Some were engaged in the action and relationships were somewhat defined.
Few of the cast developed a community onstage. Few were engaged in the action and relationships were rarely defined.
The vocals were sometimes fitting and within range of the cast, and there was sometimes a balance and blend among the vocalists. Some of the dialogue was understandable with clear diction, and, if used, accents and/or dialects were somewhat authentic, consistent, and understood.
The vocals were not fitting and/or within range of the cast, and there was rarely a balance and blend among the vocalists. The dialogue was not understandable, and, if used, accents and/or dialects were not authentic, consistent, and understood.
Comment:
Choreography and Movement
The choreographic style was appropriate and within the capabilities of the cast. The cast was committed to the choreographed movement; it was polished and well executed. Stage combat (if used) was believable and safely choreographed.
Comment: Musical Accompaniment
The orchestra/ accompaniment tracks were blended and balanced with the vocalists. If live musicians were used, their performance was effective.
Comment:
Lighting
The lighting design and execution enhanced the story, mood, time, location, and environment of the script.
Comment:
Set and Special Effects
The set design (including projections and special effects), execution, and scene changes (if any) appeared safe and enhanced the story, mood, time, location, and environment of the script.
Comment:
Costumes and Makeup
The costume, hair, and make up designs and execution supported the production’s concept, period, age, and personality of the characters.
The choreographic style was mostly appropriate and mostly within the capabilities of the cast. Most of the cast were committed to the choreographed movement; it was mostly polished and well executed. Stage combat (if used) was mostly believable and safely choreographed.
The choreographic style was sometimes appropriate and within the capabilities of the cast. The cast was sometimes committed to the choreographed movement; it was sometimes polished and well executed. Stage combat (if used) was sometimes believable and safely choreographed.
The choreographic style was not appropriate or within the capabilities of the cast. The cast was not committed to the choreographed movement; it was not polished and well executed. Stage combat (if used) was not believable and safely choreographed.
The orchestra/accompaniment tracks were mostly blended and mostly balanced with the vocalists. If live musicians were used, their performance was mostly effective.
The orchestra/accompaniment tracks were sometimes blended and sometimes balanced with the vocalists. If live musicians were used, their performance was sometimes effective. The orchestra/accompaniment tracks were not blended and not balanced with the vocalists. If live musicians were used, their performance was not effective.
The lighting design and execution mostly enhanced the story, mood, time, location, and environment of the script.
The lighting design and execution sometimes enhanced the story, mood, time, location, and environment of the script.
The lighting design and execution did not enhance the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) mostly appeared safe and mostly enhanced the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) sometimes appeared safe and sometimes enhanced the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) did not appear safe and did not enhance the story, mood, time, location, and environment of the script.
The costume, hair, and make up designs and execution mostly supported the production’s concept, period, age, and personality of the characters.
The costume, hair, and make up designs and execution sometimes supported the production’s concept, period, age, and personality of the characters
The costume, hair and make up designs and execution did not support the production’s concept, period, age, and personality of the characters.
Comment:
Properties
The prop design and execution enhanced the story, mood, time, location, and environment of the script.
The prop design and execution mostly enhanced the story, mood, time, location, and environment of the script.
The prop design and execution sometimes enhanced the story, mood, time, location, and environment of the script.
The prop design and execution did not enhance the story, mood, time, location, and environment of the script.
Comment:
Sound
Comment:
Overall Production
The sound design and execution enhanced the story, mood, time, location, and environment of the script. All aspects of the performance could be heard and were balanced.
The sound design and execution mostly enhanced the story, mood, time, location, and environment of the script. Most aspects of the performance could be heard and were mostly balanced.
The sound design and execution sometimes enhanced the story, mood, time, location, and environment of the script. Some aspects of the performance could be heard and were sometimes balanced.
The sound design and execution did not enhance the story, mood, time, location, and environment of the script. The performance could not be heard, and/or it was not balanced.
ALL aspects of the production worked together to support a clear focused vision. The result was masterful storytelling that showcased the students’ talents.
Comment:
ALL aspects of the production mostly worked together to support a clear focused vision. The result was a mostly masterful storytelling that mostly showcased the students’ talents.
ALL aspects of the production sometimes worked together to support a clear focused vision. The result was sometimes masterful storytelling that sometimes showcased the students’ talents.
ALL aspects of the production did not work together to support a clear focused vision. The result was not a masterful storytelling that did not showcase the students’ talents.
Adjudicators, please note: Some categories of the rubric cover multiple criteria. The category should be rated based on the lowest matching criteria of that rubric. (i.e. if in the Staging category, blocking and staging were interesting, organic, and justified by the actors but the stage pictures were only mostly effective, that category should be rated Excellent, not Superior.
Main Stage Production Adjudication Rubric: Play
For internal use only
School: Troupe:
Production:
Pace
The production moved smoothly, and the pace assisted the mood of the show.
Comment:
Staging
Most of the time the production moved smoothly, and the pace assisted the mood of the show.
Some of the time the production moved smoothly, and the pace assisted the mood of the show.
The production did not move smoothly, and the pace did not assist the mood of the show.
Comment:
Characterization
The blocking and staging were interesting, organic, and justified by the actors, and there were effective pictures created on stage.
The blocking and staging were mostly interesting, organic, and justified by the actors, and there were mostly effective pictures created on stage.
The blocking and staging were somewhat interesting, organic, and justified by the actors, and there were somewhat effective pictures created on stage.
The blocking and staging were not interesting, organic, or justified by the actors, and there were not effective pictures created on stage.
All the characters were believable and there was depth in the development of each character. The actors committed to their characters and played objectives rather than emotions.
Most characters were believable and there was depth in the development of most characters. Most actors committed to their characters and played objectives rather than emotions.
Several characters were believable and there was depth in the development of several characters. Some actors committed to their characters and played objectives rather than emotions.
Few, if any, characters were believable and/or developed. Frew actors committed to their characters and played objectives rather than emotions.
Comment:
Ensemble
The entire cast developed a community onstage. Everyone was engaged in the action and relationships were clearly defined.
Comment:
Vocal Quality
Most of the cast developed a community onstage. Most were engaged in the action and relationships were mostly defined.
Some of the cast developed a community onstage. Some were engaged in the action and relationships were somewhat defined.
The vocals were fitting and within range of the cast, and there was a balance and blend among the vocalists. The dialogue was understandable with clear diction, and if used, accents and/or dialects were authentic, consistent, and understood.
The vocals were mostly fitting and within range of the cast, and there was mostly a balance and blend among the vocalists. Most of the dialogue was understandable with clear diction, and, if used, accents and/or dialects were mostly authentic, consistent, and understood.
The vocals were sometimes fitting and within range of the cast, and there was sometimes a balance and blend among the vocalists. Some of the dialogue was understandable with clear diction, and, if used, accents and/or dialects were somewhat authentic, consistent, and understood.
Few of the cast developed a community onstage. Few were engaged in the action and relationships were rarely defined.
The vocals were not fitting and/or within range of the cast, and there was rarely a balance and blend among the vocalists. The dialogue was not understandable, and, if used, accents and/or dialects were not authentic, consistent, and understood.
Comment:
Lighting
Comment:
Set and Special Effects
The lighting design and execution enhanced the story, mood, time, location, and environment of the script.
The lighting design and execution mostly enhanced the story, mood, time, location, and environment of the script.
The lighting design and execution sometimes enhanced the story, mood, time, location, and environment of the script.
The lighting design and execution did not enhance the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) appeared safe and enhanced the story, mood, time, location, and environment of the script.
Comment:
Costumes and Makeup
The costume, hair, and make up designs and execution supported the production’s concept, period, age, and personality of the characters.
The set design (including projections and special effects), execution, and scene changes (if any) mostly appeared safe and mostly enhanced the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) sometimes appeared safe and sometimes enhanced the story, mood, time, location, and environment of the script.
The set design (including projections and special effects), execution, and scene changes (if any) did not appear safe and did not enhance the story, mood, time, location, and environment of the script.
The costume, hair, and make up designs and execution mostly supported the production’s concept, period, age, and personality of the characters.
The costume, hair, and make up designs and execution sometimes supported the production’s concept, period, age, and personality of the characters.
Comment:
Properties
The prop design and execution enhanced the story, mood, time, location, and environment of the script.
The prop design and execution mostly enhanced the story, mood, time, location, and environment of the script.
The prop design and execution sometimes enhanced the story, mood, time, location, and environment of the script.
The costume, hair, and make up designs and execution did not support the production’s concept, period, age, and personality of the characters.
Comment:
Sound
The sound design and execution enhanced the story, mood, time, location, and environment of the script. All aspects of the performance could be heard and were balanced.
The sound design and execution mostly enhanced the story, mood, time, location, and environment of the script. Most aspects of the performance could be heard and were mostly balanced.
The sound design and execution sometimes enhanced the story, mood, time, location, and environment of the script. Some aspects of the performance could be heard and were sometimes balanced.
The prop design and execution did not enhance the story, mood, time, location, and environment of the script.
The sound design and execution did not enhance the story, mood, time, location, and environment of the script. The performance could not be heard, and/or it was not balanced.
Comment:
Overall Production
ALL aspects of the production worked together to support a clear focused vision. The result was masterful storytelling that showcased the students’ talents.
Comment:
Judge’s Name (Please Print)
ALL aspects of the production mostly worked together to support a clear focused vision. The result was a mostly masterful storytelling that mostly showcased the students’ talents.
ALL aspects of the production sometimes worked together to support a clear focused vision. The result was sometimes masterful storytelling that sometimes showcased the students’ talents.
ALL aspects of the production did not work together to support a clear focused vision. The result was not a masterful storytelling that did not showcase the students’ talents.
Signature
Adjudicators, please note: Some categories of the rubric cover multiple criteria. The category should be rated based on the lowest matching criteria of that rubric. (i.e. if in the Staging category, blocking and staging were interesting, organic, and justified by the actors but the stage pictures were only mostly effective, that category should be rated Excellent, not Superior.
Judge’s
Main Stage Production Selection Rubric
Production: Play Musical
For internal use only
School: Troupe:
Rating
Adjudication
What can we learn about the production’s strengths based on the adjudicators’ feedback?
Superior Alignment Excellent Alignment Good Alignment Fair Alignment
Adjudication placed this production solidly in the Superior range.
Based on the adjudication, all elements of the production worked together seamlessly.
Notes/Comments:
Adjudication placed this production solidly in the Excellent range.
Based on the adjudication, the performance and the overall production values were strong.
Diversity, Equity, & Inclusion
How does this production align with EdTA’s goal of providing a Main Stage lineup that promotes diversity, inclusion, and cultural competency by representing diverse races, ethnicities, gender identity and abilities in the cast, crew, director, playwright, and/or subject matter?
Comment:
The production showcases the authentic voice of an underrepresented population and features a highly diverse cast and crew.
The application demonstrates deep commitment and actions taken to prioritize diversity, equity, and inclusion.
The production features diversity in the crew and a cast with strong roles for diverse students.
The application demonstrates a goal of honoring diversity, equity, and inclusion.
Adjudication placed this production solidly in the Good range.
Based on adjudication, areas of the production needed refinement.
Adjudication placed this production solidly in the Fair range.
Based on the adjudication, many areas of the production needed substantial improvement.
The production features some diversity in the cast and/or crew.
The application acknowledges the importance of diversity, equity, and inclusion. There is little evidence of diversity, equity, and inclusion in the casting or crew makeup.
There is little evidence of a commitment to diversity, equity, and inclusion in the application.
Technical Needs
How well does this production adhere to the technical requirements and the constraints of the allotted time, venue limitations, and available equipment?
Comment:
The application demonstrates an exceptional commitment to creating a show that can seamlessly travel, with evidence that all aspects of the production will work within the parameters of available equipment, space, and space.
Variety & Relevance
How will this production contribute to EdTA’s goal of creating a well-rounded Main Stage lineup that includes a variety of genres and titles that fit the themes and the needs of all and highlights the students and the storytelling?
The show’s genre, unique voice, timely topic, and/or innovative production values would make a compelling addition to boost the variety of chosen productions.
The production’s technical needs work within the parameters of available equipment and space and should be able to easily load in and out within the time allotted.
The production’s technical needs will work within the parameters of available equipment and space with some modification and should be able to load in and load out within the time allotted.
The production’s technical needs will not translate to the available equipment and spaces of ITF and/or load in and load out will likely be extensive and problematic.
The show’s genre, voice, topic, and/ or production values would make it a relevant addition to add to the variety of chosen productions.
The show’s genre, voice, topic and/or production values are similar to many other offerings and/or sometimes overdone. It would add somewhat to the variety of chosen productions.
The show in some way negates or violates policies and/or the mission of the International Thespian Society or EdTA and would not make a good candidate to add to the variety of chosen productions.
Comment:
How Does This Show Contribute to a Varied Lineup?
Notes/Comments:
Main Stage Production Adjudication Permission Letter
Dear Licensing Partner,
Since 1941, the International Thespian Festival (ITF) has been the ultimate weeklong celebration of high school theatre for thousands of students. Taking place on a college campus, it celebrates the “best of the best” in high school theatre: main stage shows, individual performances, master classes, college auditions, adjudication, and networking. Students and teachers alike describe it as a lifechanging experience.
One of the highlights of our festival is the presentation of main stage performances. These productions are launched by Thespian troupes, adjudicated by select educators, professionals, and volunteers, and only the top-scoring productions are invited to give exhibition performances at ITF.
In an effort to make adjudication as accessible as possible, the process is being completed virtually. This method keeps costs as low as possible for the applicant, as we no longer need to factor in adjudicator travel and accommodation costs into the fee. Instead, schools submit a video of their complete production to be reviewed by assigned adjudicators digitally.
If the applicant school has purchased a video license from you, those rights cover everything we need for adjudicators to evaluate the production. In some cases, video rights are not available or were unable to be purchased. In those cases, we respectfully request your permission to utilize video recordings for main stage adjudication purposes ONLY, under these parameters:
• The video production will only be available to EdTA event staff and the pre-determined adjudication team.The videos will only be accessible via unique login credentials. Your affirmative response to this letter doesnot replace a video license request – it only covers a video submission for adjudication purposes. If schoolswish to utilize the video for anything else, including archival and memorabilia purposes, they must secure avideo license from your company.
• If selected to present their production at ITF, the school will need to secure approval for two (2) liveperformances during the week of the event, as well as approval for EdTA to video record the performancesfor archival purposes only. Schools are made aware that they must secure approval from your company forthese performances, including the possibility that they may need to pay additional royalties. In some cases,licensing companies view the exhibition performances at ITF as a marketing expenditure and apromotional opportunity for the title, but that decision is entirely yours.
We appreciate your help in ensuring the success of our main stage program, the event, and our students. If you have any questions about the adjudication process or these parameters, please email events@schooltheatre.org
Your friends at EdTA
Main Stage Production Adjudication Permission Form
Please provide EdTA with a copy of your video license agreement from the licensing agency. If no video license has been purchased, or was unable to be granted, you may secure permission for virtual adjudication from your licensing agency by requesting that they read and authorize this form. The completed form should be submitted along with the recorded production within one week of performance or by December 6, 2024 - whichever comes first.
Annually, the Educational Theatre Association (EdTA) seeks high-quality full-length school productions to feature on the main stage during the International Thespian Festival (ITF). To reduce adjudication costs and increase access, EdTA will virtually adjudicate productions during the 2024-2025 school year.
Name of Troupe Director
Troupe Director’s Email Address
Troupe Number
School Name
School Address
Production Title
Publisher/Licensing Agency
We hereby grant the above school permission to record a single performance of their live production of the above play or musical in order to have it adjudicated by EdTA for appearance on the main stage of the International Thespian Festival.
We understand that the application process and adjudication will be conducted on EdTA’s private online submission platform, OpenWater. Adjudicators will only be able to access the recording by logging in to their individual account during the designated adjudication period. Three to five adjudicators will view the recording and it will not be distributed or shared outside of the adjudication team by EdTA nor the applicant. This form does not grant permission for any other recording rights or distribution of a recording other than for the purposes of main stage adjudication. Adjudicators will score each element of the production according to a rubric and provide educational feedback for the applicant.
If the above school’s production is selected by the adjudication committee for appearance on the main stage during the International Thespian Festival, the school will be responsible for securing permission to present two (2) performances live at Indiana University in Bloomington, Indiana, June 23-27, 2025, for festival attendees and authorization for EdTA to record the performances for archival purposes only.
Applicant Signature
Publisher/Licensing Agent Signature © 2024 Educational Theatre Association. All rights reserved.
Kinky Boots | Colorado Thespians | Troupe 5869 Denver School of the Arts | Director: Shawn Hann